Director Sofia Olins talks about her Documentary Lost in Vagueness

Q: Your film Lost in Vagueness screens at Curzon’s Aldgate cinema on November 23 as part of the Underwire Film Festival (click here for ticket info). What can audiences expect from the film?

A: TO find out a bit more about Glastonbury’s journey to become one of the biggest [music festivals] in the world. We reveal the secrets of who was behind that and how it happened – as well at the socio-political backdrop that propelled it forward.

Q: You have followed Roy Gurvitz, the founder of the Lost in Vagueness zone at Glastonbury, for more than 13 years. How did you meet and what initially drew you to him?

A: I HAD been going to Lost Vagueness at Glastonbury for a couple of years and one day I walked in and had a strong impulse to record this time – it felt truly original and game changing.

After that it took a while to win Roy’s trust as back then they were being approached by quite a few people who wanted to make programmes and films. I think the fact that I was just always around proved I was there to stay.

Q: Do you have any special or distinctly memorable Glastonbury experiences that you can share with us ahead of the film?

A: THE first time I stepped into the Glastonbury office and saw the original photograph of David Bowie in 1971 – and I always get a thrill driving around the site as it Is being constructed. It becomes a city almost the size of Hull and becomes this sprawling landscape of creativity and celebration.

Q: Chris Hughes’ Do You Own the Dancefloor did a wonderful job of capturing the voices and essence of Manchester’s Hacienda scene. How did you find the process of selecting voices and talking heads for this film? Was there a particular tone you were looking to capture?

A: WE had the constant conflict between staying focused on Roy’s story so that the film held together – and also including all the community that came together to make it all happen.

I had so much material with over 400 hours, so yes over the six months of editing we did go down a few rabbit holes. But John Mister, the editor, did the best job and his experience and nose for narrative really kept us on track.

Q: The film is part of the Underwire Film Festival celebrating female talent across the industry. What are the major challenges facing female directors in the industry and how can we start to overcome them?

A: I AM not sure my input to this debate will deepen what we already know. We know it is not there yet and that everyday there are still a great deal of wrong doings that still go under the radar.

The Women in Film and TV mentoring scheme and wider network is one of the most positive forces I have experienced and has really been instrumental in galvanising a large group of extremely talented and creative women within the industry pushing for change.

Q: Lastly, do you have any upcoming projects that you can tell us about? Do you have any future documentary subjects in mind?

A: YES, but I am not able to talk about the details just yet. It involves cultural zeitgeist and music.